St. Cecilia

The image of St. Cecilia, a virgin Christian martyr who lived in Rome between 200 and 230 AD, frequently appears in the works of 16th and 17th-century Italian artists. After discovering her relics in 1599 and making sure they were imperishable, the saint's cult grew in popularity. The Counter-Reformation, with its desire to interpret the image of a woman as the personification of fortitude and Christian virtues, contributed to the formation of iconography. St. Cecilia was honoured as the patron of church music from the 14th century. She was depicted as a beautiful young girl dressed in rich aristocratic clothes, holding musical instruments – keyboard or string ones – because she converted the Romans to Christianity by singing and playing music. In Baroque art, this theme has acquired duality since such images not only represented earthly beauty but also evoked the religious feelings of the viewer. An example of such a painting is "St. Cecilia" from the collection of Borys Voznytskyi Lviv National Art Gallery. According to the most recent attributions, it belongs to the circle of Florentine artists such as Francesco Furini (1603–1646), Simone Pignoni (1611–1698), and Francesco Botti (1640–1711). Thus, the creative manners of Francesco Furini and his student Simone Pignoni correspond to the restrained movements of the depicted people combined with their bodily sensuality and emotional expression. At the same time, the Uffizi Gallery houses an almost identical work in tondo, "St. Cecilia" by Francesco Botti, a student of Simone Pignoni. The Baroque style with shades of Mannerism inherent in the painting is noticeable in the openness beyond the format of the zigzag line formed by the tilt of the saint's head, the curve of her body, and the outline of her hand. A tender young face reflects Baroque sensuality, and the upward gaze of beautiful eyes indicates a predisposition to the divine. A brownish-ochre restless background and a contrast of blue and red colours create the dynamism of the image. Francesco Furini and his circle are known for contrasting side lighting with the deep Caravaggian play of light and shadows. Associated with the creativity of the master is a certain sentimentality of the image, which replaces true drama.

Borys Voznytskyi Lviv National Art Gallery